Mademoiselle de Maupin. Theophile Gautier

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      Ah! if I were a poet, I would consecrate my verses to those whose existence is a failure, whose arrows have not reached the target, who have died with the word they had to say still unsaid and without pressing the hand that was destined for them; to all who have been unsuccessful or have passed by unnoticed, to genius without issue, stifled fire, the undiscovered pearl at the bottom of the sea, to all who have loved without being loved, to all who have suffered and not been pitied;—it would be a noble task.

      How wise it was of Plato to wish to banish you from his republic, and what harm you have done us, O poets! Your ambrosia has made our absinthe more bitter than ever; and we have found our lives more arid and more devastated after plunging our eyes into the vistas leading to eternity that you open to us! What a terrible struggle your dreams have brought upon our realities! and how our hearts have been stamped upon and trampled under foot by those rude athletes!

      We have seated ourselves like Adam at the foot of the walls of the terrestrial paradise, on the steps of the staircase that leads to the world you have created, seeing a light brighter than the sunlight gleam through the chinks of the door, hearing vaguely some few scattered notes of a seraphic harmony. Whenever one of the elect enters or comes out amid a flood of glory, we stretch our necks trying to see something through the open door. It is fairy-like architecture equalled nowhere save in Arabian tales. Great numbers of pillars, superimposed arches, fluted spiral columns, leaf-work marvellously carved, trefoils hollowed out of the stone, porphyry, jasper, lapis-lazuli and Heaven knows what! transparencies and dazzling reflections, a profusion of strange stones, sardonyx, chrysoberyl, aquamarines, rainbow-hued opals, azerodrach, jets of crystal, torches to make the stars turn pale, a gorgeous vapor filled with noise and vertigo—genuine Assyrian magnificence!

      The door closes: you see no more—and you cast down your eyes, filled with burning tears, to the poor, bare, lifeless earth, to the ruined hovels, to the people in rags, to your own soul, an arid rock upon which nothing grows, to all the woes and misfortunes of reality. Ah! if we could only fly as far as that, if the steps of that fiery staircase did not burn our feet; but alas! none but angels can climb Jacob's ladder!

      What a fate is that of the poor man at the rich man's door! what ghastly irony in a palace opposite a hovel, the ideal opposite the real, poetry opposite prose! what deep-rooted hatred must tighten the knots at the bottom of the poor wretches' hearts! what a gnashing of teeth there must be at night on their poor beds, when the wind brings to their ears the sighing notes of the lutes and viols of love! Poets, painters, sculptors, musicians, why have you lied to us? Poets, why did you tell us your dreams? Painters, why did you place upon your canvas the intangible phantom that ascended and descended between your heart and your brain with the throbbing of your blood, and say to us: "This is a woman." Sculptors, why did you procure marble from the bowels of Carrara to make it express for all time, in the eyes of all men, your most secret and most fleeting desire? Musicians, why did you listen to the song of the stars and the flowers during the night, and note it down? Why do you write such lovely ballads that the softest voice that says to us: "I love you!" seems to us as hoarse as the rasping of a saw or the cawing of a crow?—My curse on you, impostors!—and may the fire from heaven burn and destroy all pictures, poems, statues, and concerted pieces.—Ouf! there's a tirade of interminable length and a little out of the ordinary epistolary style.—What a harangue!

      I just gave full swing to the lyric impulse, my dear friend, and I have been talking on stilts for a long, long time. All this is very far from our subject, which is, if I remember rightly, the glorious and triumphant history of the Chevalier d'Albert in pursuit of Daraïde, the loveliest princess in the world, as the old romances say. But in truth the story is so poor that I am compelled to have recourse to digressions and reflections. I hope that it will not always be so, and that, before long, the romance of my life will be more involved and complicated than a Spanish imbroglio.

      After wandering about from street to street, I decided to call on one of my friends who was to present me at a house where, according to what he told me, I should see a world of pretty women—a collection of flesh and blood idealities—the wherewithal to satisfy a score of poets.—There are some there to suit all tastes:—aristocratic beauties with eagle glances, sea-green eyes, straight noses, chins haughtily elevated, queenly hands, and the gait of a goddess; silver lilies mounted upon golden stalks;—modest violets, pale of hue, sweet of perfume, with melting, downcast eyes, slender neck, transparent flesh;—animated, piquant beauties; devout beauties, beauties of all sorts;—for the house is a genuine seraglio, minus the eunuchs and the Kislar aga.—My friend tells me that he has already had five or six affairs there—quite as many as that;—that seemed to me a prodigious record and I am very much afraid that I shall not have the like success; De C—— says yes, and that I shall succeed much better than I shall care to. According to him I have only one fault, which I am certain to correct as I grow older and go more into society—he says I think too much of woman and not enough of women.—It may well be that there's some truth in that.—He says that I will be perfectly lovable when I rid myself of that little failing. God grant it! It must be that women feel that I despise them; for a compliment, which they would consider adorable and delightful to the last degree in the mouth of another, in mine displeases them and makes them angry, as if it were the most savage epigram. That probably has something to do with the fault De C—— refers to.

      My heart beat a little faster as I went up the stairs, and I had barely recovered from my emotion when De C——, taking me by the elbow, brought me face to face with a woman of about thirty—not ill-looking—dressed with dissembled magnificence and extreme affectation of childlike simplicity—which did not prevent her being daubed with rouge like a carriage-wheel:—it was the lady of the house.

      De C——, assuming the shrill, mocking voice which is so different from his ordinary voice, and which he uses in society when he wants to be fascinating, said to her, half aloud, with abundant demonstrations of ironical respect, in which the most profound contempt could plainly be detected:

      "This is the young man of whom I spoke to you the other day—a man of very distinguished merit; he is of unexceptionable birth and I think that it cannot be otherwise than agreeable to you to receive him; that is why I have taken the liberty to present him to you."

      "Assuredly, monsieur, you have done well," rejoined the lady, with a most outrageously affected manner. Then she turned to me, and after looking me over out of the corner of her eye, like a clever connoisseur, and in a way that made me blush to my ears, she said: "You may consider yourself invited once for all, and come as often as you have an evening to waste."

      I bowed awkwardly enough, and stammered a few disconnected words which could not have given her a very exalted opinion of my talents; other persons came in and I was delivered from the ennui inseparable from an introduction. De C—— led me to a window recess and began to lecture me vigorously.

      "What the devil! you will get me into a scrape; I announced you as a perfect phœnix of wit, a man of unbridled imagination, a lyric poet, everything that is most transcendent and impassioned, and you stand there like a ninny without lisping a word. What a wretched imagination! I thought your vein was more fruitful; come, come, give your tongue the rein, chatter away through thick and thin; you don't need to say sensible, judicious things, on the contrary, they might injure your chances; talk, that's the main thing; talk fast, talk all the time; attract attention to yourself; throw aside all fear and all modesty; fix it firmly in your head that all who are here are fools, or almost that, and don't forget that an orator who wants to succeed cannot despise his audience enough.—What do you think of the mistress of the house?"

      "I dislike her very much already; and although I talked with her hardly three minutes, I was as bored as if I were her husband."

      "Aha! that's what you think of her, eh?"

      "Why, yes."

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